Members’ Spotlight

Max Jacquard

Tree Of Jesse Ester Segarra
Scholarstone 2 Made in collaboration with Marion Mack. photo Ester Segarra
Wrapped Decanter: (silk wrapped teardrop) Ester Segarra
Scholarstone:Detail Made in collaboration with Marion Mack. photo Ester Segarra
Wrapped Decanter (filled with whiskey) Ester Segarra
Wrapped Decanter: Detail Ester Segarra
Fertile Landscape 2 Max Jacquard
Max Jacquard
Simon Bruntnell
Max Jacquard Glass

Award winning glass sculptor, Max Jacquard, exhibits internationally and his work can be seen in several important museum collections including the V&A Museum in London, The Shipley Museum in Gateshead, MAVA in Alcorcon, Madrid and the Shanghai Glass Museum.
He has been a practitioner in Glass for over twenty years and is known for his innovative techniques such as 'Glass Patch-working and 'Core Casting'. He teaches regularly at UCA Farnham and Bildwerk Summer Academy, Frauenau.

Details about work or recent projects

My practice is driven by a search for expression of ideas and personal narratives but in the course of which I have come to refine several key kiln-forming techniques that I consider to bear a distinctive individual stamp. My artistic language involves the use of found forms or textures transposed into strange contexts using mould-making and transfer processes
I am perhaps known for the large-scale glass constructions such as The ‘Brickman figure” in the V and A Museum, made in what I describe as ‘Glass patch-working”. In this method I am slump forming large sheets of Artist glass that are then cut up, edge-worked and stitched together using metal wire or links. These works are very time consuming to complete and today are mostly reserved for commissions or special exhibitions, but as an offshoot I run a number of workshops where recycled sheet glass and bottles becomes the raw material for collage and larger scale sculptural form building
The other process that I have pioneered and refined is the use of cores or negative forms in casting. This technique is featured in Angela Thwaites’s Mould Making for Glass (pub A.C Black 2012) and involves the pre-casting of a core form that is suspended within a wax outer form that becomes the outside skin of the glass block. This method enables the viewer to perceive ‘two forms in one” and creates a conversation in symbolism and spatial relationship that is unique to the medium of cast glass.

Greensand Barn, Church Farm
Ulcombe, Maidstone
Kent
ME17 1DN
United Kingdom http://www.maxjacquard.com
Technique: Casting, Cold work, Kiln work
Occupation: Artist
Discipline: Architectural, Decorative, Fine art
Areas of Interest: Conferences, Education, Exhibition